I love the smell of napalm in the morning. | Sound clips from Apocalypse Now (1979) | War Movie Sound Clips Actors (voice): Martin Sheen, Marlon Brando, Robert Duvall Genre: Action, War, Drama Release date: 1979 IMDb description: During the U.S.-Viet Nam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade colonel who has set himself up as a god among a local tribe. Download or listen to voice quotes, sound bites and sound clips sampled from the movie Apocalypse Now (1979). All waveform samples are in .mp3 format. Apocalypse Now - smell of napalm - YouTube Apocalypse Now - smell of napalm Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 1, 2007 Kilgore: I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours.

When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body. The smell, you know that gasoline smell, the whole hill. Smelled like... victory. Someday this war's gonna end... Category b I love the smell of napalm in the morning You know one time - HNRS - 30 View Full Document b. “I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours. When it was all over, I walked up. We didn’t find one of ‘em, not one stinkin dink body. The smell, you know that gasoline smell, the whole hill. Smelled like…victory. Someday’s this war’s gonna end…” (Kilgore walks away) What does this say about Kilgore’s character? What do you think Kilgore thinks about himself? Kilgore sees has fallen in love with war. The sights, smells and sounds motivate him to victory. Yet at the same time Kilgore is aware that his state of mind will only work in this world and it saddened them c.

This movie is unique for its detailed filming of military helicopters. What message is being sent about the Huey? Helicopters allowed this war to be conducted in a detached and violent way. The helicopters created mass casualties from above, allowing those involved to be part of the war as if it were a game. The Huey’s are the point of the military’s spear. These weapons have the power to destroy whole communities and the army is creating them quickly and put them under the command of those who do not have a real grasp of death. d. Through the use of Kilgore, what is the film saying about military principles? Kilgore views his job as a work of art, putting music to his operation, making his fleet come in like some kind of conquering hero. With the music in the background we see Kilgore destroy villages for the sake of capturing a beach to surf on. i. There is a scene that shows a military personnel using a megaphone to tell the Vietnamese people whose village they just bombed that, “We are here to help you.” In the background there are rising flames, making it look like they are in some kind of inferno. e.

There is a small section in the film where there is a priest trying to hold mass in the midst of a battle but is barely doing so because of the wind from the helicopters and fighting going on. What do you think this says about the role of religion in battle? Religion almost seems insignificant in battle. The 3) Meet Kurtz – The world of Kurtz is dark and twisted, where people live a hellish existence caught up in a philosophical whirlpool created by Kurtz that sucks everyone in. His compound is decorated by skulls, rows of torches, men impaled on poles, etc. a. The first words that we hear from Kurtz are hauntingly intense: “I watched a snail crawl along the edge of a straight razor. That’s my dream, it’s my nightmare. This preview has intentionally blurred sections. Sign up to view the full version. View Full Document Crawling, slipping along the edge of a straight razor and surviving…” What do you think that Kurtz means by this? Kurtz is the snail. b. Compare Kilgore and Kurtz. Are they different or the same ? Both of the men lead a god-like existence.

They use brutal tactics when they deem necessary, Kilgore will bomb any beach so they can surf it and Kurtz will murder anyone (Chef) to get to Willard. Kilgore has the technological advantage of helicopters and uses them to create a god-like image (when he is looking for his surfboard, This is the end of the preview. Sign up to access the rest of the document. TERM UCLA HNRS 177 - Spring 2012 color of the tortoise as a mother figure, At first the tortoise wanted nothing to do Final Interspecies5 Most Popular Movie Quotes Most Popular Movie Quotes Return to Entire Quotes Index Most Popular Movie Quotes Most Popular Movie Quotes: In the July 30, 2004 article entitled "Now Hear This" of Entertainment Weekly, the magazine provided various lists of the greatest cinema quotes ever. Almost all of the article's selected or honored quotes have already been listed on this site (found within the Greatest Film Quotes page), but not in this particular configuration or grouping. Most Popular Movie Quotes were provided by readers who wrote into the magazine. Most Popular Movie Quotes (in chronological order by film) "You know you don't have to act with me, Steve.

You don't have to say anything, and you don't have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don't you, Steve? You just put your lips together - and blow." - MARIE BROWNING (Lauren Bacall) in To Have and Have Not (1944) Play clip (excerpt): - IDA CORWIN (Eve Arden) in Mildred Pierce (1945) Play clip (excerpt): - GILDA (Rita Hayworth) in Gilda (1946) Play clip (excerpt): - MARGO CHANNING (Bette Davis) in All About Eve (1950) Play clip (excerpt): - REVEREND SYKES (William Walker) in To Kill a Mockingbird (1962) Play clip (excerpt): - PRESIDENT MUFFLEY (Peter Sellers) in Dr. Strangelove or:...

(1964) Play clip (excerpt): - CAPTAIN (Strother Martin) in Cool Hand Luke (1967) Play clip (excerpt): - HAROLD (Bud Cort) in Harold and Maude (1971) Play clip (excerpt): "Now let's you just drop them pants...Just take 'em right off...I bet you can squeal like a pig." - MOUNTAIN MAN (Bill McKinney) in Deliverance (1972) Play clip (excerpt): - VITO CORLEONE (Marlon Brando) in The Godfather (1972) Play clip (excerpt): - DR.

SZELL (Laurence Olivier) in Marathon Man (1976) Play clip (excerpt): - TRAVIS BICKLE (Robert DeNiro) in Taxi Driver (1976) Play clip (excerpt): - KILGORE (Robert Duvall) in Apocalypse Now (1979) Play clip (excerpt): - MATTY WALKER (Kathleen Turner) in Body Heat (1981) Play clip (excerpt): - INDIANA JONES (Harrison Ford) in Raiders of the Lost Ark (1981) Play clip (excerpt): - NIGEL TUFNEL (Christopher Guest) in This is Spinal Tap (1984) Play clip (excerpt): - HUDSON (Bill Paxton) in Aliens (1986) Play clip (excerpt): "Nobody puts Baby in a corner." - JOHNNY CASTLE (Patrick Swayze) in Dirty Dancing (1987) Play clip (excerpt): "Hello. My name is Inigo Montoya. You killed my father.

Prepare to die." - INIGO MONTOYA (Mandy Patinkin) in The Princess Bride (1987) Play clip (excerpt): - "Inconceivable!" - "You keep using that word. I do not think it means what you think it means." - INIGO MONTOYA (Mandy Patinkin) in The Princess Bride (1987) Play clip (excerpt): "Have fun storming the castle!" - MIRACLE MAX (Billy Crystal) in The Princess Bride (1987) Play clip (excerpt): - THE GRANDFATHER/NARRATOR (Peter Falk) in The Princess Bride (1987) Play clip (excerpt): "Son, you got a panty on your head." - GUY IN A TRUCK (John O'Donnal) to Nicolas Cage in Raising Arizona (1987) Play clip (excerpt): "I have come here to chew bubble gum and kick ass. And I'm all out of bubble gum." - NADA ("Rowdy" Roddy Piper) in They Live (1988) Play clip (excerpt): "But I'm funny how? I mean, funny like I'm a clown?

I amuse you?" - TOMMY DeVITO (Joe Pesci) in GoodFellas (1990) Play clip (excerpt): - "It might be a tumor." - "It's not a tumor!" (pronounced tumah) - JOHN KIMBLE (Arnold Schwarzenegger) in Kindergarten Cop (1990) Play clip (excerpt): "He didn't get out of the cock-a-doodie car!" - ANNIE WILKES (Kathy Bates) in Misery (1990) Play clip (excerpt): "Get outta here! And don't come back for five to seven days!" - VADA SULTENFUSS (Anna Chlumsky) in My Girl (1991) Play clip (excerpt): - HANNIBAL LECTER (Anthony Hopkins) in The Silence of the Lambs (1991) Play clip (excerpt): "There are two types of people in this world: those who like Neil Diamond, and those who don't." - BOB WILEY (Bill Murray) in What About Bob?

(1991) Play clip (excerpt): "You can't handle the truth!" - COLONEL JESSUP (Jack Nicholson) in A Few Good Men (1992) Play clip (excerpt): "There's no crying in baseball!" - JIMMY DUGAN (Tom Hanks) in A League of Their Own (1992) Play clip (excerpt): "Oh, for goodness sakes. Get down off that crucifix. Someone needs the wood." - ADAM/FELICIA (Guy Pearce) in The Adventures of Priscilla, Queen of the Desert (1994) Play clip (excerpt): "Sometimes, Dolores, sometimes you have to be a high-ridin' bitch to survive.

Sometimes, being a bitch is all a woman has to hang on to." - VERA DONOVAN (Judy Parfitt) in Dolores Claiborne (1995) Play clip (excerpt): "You had me at 'hello'." - DOROTHY BOYD (Renee Zellweger) in Jerry Maguire (1996) Play clip (excerpt): "Show me the money!" - ROD TIDWELL (Cuba Gooding Jr.) in Jerry Maguire (1996) (also voiced by Jerry Maguire (Tom Cruise)) Play clips (excerpt): (1) (2) "This is gonna be fun. We can stay up late, swappin' manly stories, and in the mornin', I'm makin' waffles!" - DONKEY (Eddie Murphy) in Shrek (2001) Play clip (excerpt): I Love The Smell Of Napalm In The Morning ::: Apocalypse Now - YouTube I Love The Smell Of Napalm In The Morning ::: Apocalypse Now Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 26, 2014 Lieutenant Colonel William "Bill" Kilgore (Robert Duvall) delivers his famous line (shortened) in Apocalypse Now (1979). Such a great and quotable scene, that I made 3. -This vid has his priceless reaction to the war ending someday Patton Movie Review & Film Summary (1970) | Roger Ebert I love it, God help me, I do love it. I love it more than my life. Advertisement So speaks Gen. George S. Patton Jr. about war, in "Patton." In his words we hear a premonition of the most memorable of all war movie speeches, Col. Kilgore's "I love the smell of napalm in the morning," from " Apocalypse Now ." It is surely no coincidence that both screenplays were co-written by Francis Ford Coppola .

The Kilgore character seems like a screwball spin-off of Patton, a man who observes to his staff at the end of the war: "All good things must come to an end." In his own eyes, Patton was larger than life and stood outside time. Standing on a North African battlefield where Carthage was attacked by Rome, he says "I was here," and he means it. He believes in reincarnation and destiny, and when he is benched on the eve of the invasion of Europe, he rants, "The last great opportunity of a lifetime and I'm left out of it? God will not allow it to happen." That swagger was his strength and weakness. He could inspire men to heroic feats, he was a brilliant strategist, but he was a genius at getting himself into trouble. In a war where millions died horribly, he slapped a shell-shocked soldier and his career was derailed. Franklin J. Schaffner's "Patton" (1970), released at the height of the unpopular war in Vietnam, was described by many reviewers at the time as "really" an anti-war film. It was nothing of the kind.

It was a hard-line glorification of the military ethic, personified by a man whose flaws and eccentricities marginalized him in peacetime, but found the ideal theater in battle. In this he was not unlike Churchill; both men used flamboyance, eccentricity and a gift for self-publicity as a way of inspiring their followers and perplexing the enemy. That Patton was in some ways mad is not in doubt--at least to the makers of this film--but his accomplishments overshadowed, even humiliated, his cautious and sane British rival, Montgomery. Advertisement The film is nearly three hours long and George C. Scott is onscreen for most of that time, when we are not seeing battle scenes or Nazi planners (always speculating about Patton). It is one of those sublime performances in which the personalities of the actor and the character are fulfilled in one another. Although the role was offered to other actors who were bigger stars (critic Tim Dirks lists Burt Lancaster , Rod Steiger , Lee Marvin , Robert Mitchum and John Wayne ), it is unimaginable without Scott. His comic-opera Gen. Buck Turgidson in " Dr.

Strangelove " (1963) informs more than a little of Patton's nuttiness and his hatred of the Russians. Scott (1927-1999) was big, powerful, lonely, brilliant, a drinker, a perfectionist who stood so far outside Hollywood circles it was a foregone conclusion he would not turn up at the Academy Awards. In his career he sought out challenges like the plays of Shakespeare, O'Neill and Miller, in the same way Patton hungered for battle. Like Patton, he was a man without a purpose when he was offstage. Consider the scene where Patton is dressed by his aide, who adjusts his helmet reverently on his head as if placing a crown. Patton regards himself in the mirror and muses to himself, "All my life I've wanted to lead a lot of men in a desperate battle." He could be an actor preparing to walk onto a stage. "General, the men don't always know when you're acting or not," a subordinate tells him after one flamboyant speech. "They don't need to know," Patton says.

"Only I need to know." Headlines and newsreels personified armies by referring to their generals: Rommel was defeated in Africa, Patton swept north through France. Patton saw it the same way, and when he promises he will liberate Massine before Montgomery gets there, he is thinking in the first person. Gen. Omar Bradley ( Karl Malden ), who has the film's only other significant leading role, quails at the risk of lives and equipment that Patton is willing to contemplate, because he does not quite see that for Patton his men and equipment are the limbs of his ego. Vanity and courage found their intersection in Patton. "If you were named admiral of the Turkish navy," Bradley tells him, "I believe your aides could dip into their haversacks and come up with the appropriate decoration." Advertisement "Patton" is not a war film so much as the story of a personality who has found the right role to play. Scott's theatricality is electrifying. As Patton he always stands up in his Jeep, loves making speeches, grandstands, plunges into the action to personally goad his men, even directs traffic. There is a touch of the manic about him. He seems to have no personal life.

The film makes no mention of family, children, even close friends; his heart-to-heart talks are with himself. He seems formidably well-read, lecturing his subordinates on the history of the battlefields, the lessons of Napoleon, the experiences of earlier leaders who came this way. He has a classical quotation for every occasion. "You son of a bitch," he gloats after outsmarting Rommel, "I read your book!" Scott's performance is not one-level but portrays a many-layered man who desires to appear one-level. Instead of adding tiresome behavioral touches, he allows us small glimpses of what may be going on inside. Having made a fetish of bravery, he obtains a dog that is terrified most of the time, and affectionately drags the cowardly beast wherever he goes. Told by the press that the American public is fascinated by his "pearl-handled revolver," he stone-faces: "Ivory. Only a pimp from a cheap New Orleans whorehouse would carry a pearl-handled revolver." That shows he's given it some thought. Early in the film, under surprise air attack by the Nazis, he stands in the middle of a street firing at them with the revolver.

Crazy, yes, but it adds to the legend. The most famous scene is the first one, Patton mounting a stage to address his troops from in front of an American flag that fills the huge 70-mm screen. His speech is unapologetically bloodthirsty ("we will cut out their living guts and use them to grease the treads of our tanks"). His uniform and decorations, ribbons and medals, jodhpurs and riding boots and swagger stick fall just a hair short of what Groucho Marx might have worn. Scott's great nose could be the beak of an American Eagle. The closing shot is the other side of the coin, a graying and lonely old man, walking his dog. Even then, we suspect, Patton is acting. But does he know it? Advertisement Franklin Schaffner (1920-1989) was a master of bold, uncluttered canvases.

After a start directing live television in the 1950s, he made dramas (including "The Best Man," one of the best Hollywood films about politics) before finding his natural footing with epics such as "The War Lord" (1965), " Planet of the Apes " (1968) and, after "Patton," " Nicholas and Alexandra " (1971) and " Papillon " (1973). His "Patton" is one of the most uncluttered of war movies, devoid of side plots, colorful supporting characters and "human interest." There are no individual soldiers whose adventures we follow, and the battle scenes are seen in long shot, not personalized; they have the sweep of Victorian canvases instead of the hand-to-hand intimacy of " Platoon ," " Saving Private Ryan " or " We Were Soldiers ." Even the Bradley character has no purpose other than to admonish, support and puzzle over Patton--to stand there and look at him. The movie sees the war as Patton saw it, as Patton's story. Well, it's one way of looking at it.

* * * Footnote: I see the war most vividly through the eyes of an old friend, the director Russ Meyer , who enlisted at 17 and believed, with Patton, it was the best thing that ever happened to him. Over the years he has talked about it endlessly, and I have a glimpse of Patton from Meyer. In the closing days of the war, when Meyer was a Signal Corps cameraman near the German lines in France, he was routed from his bed in the middle of a night and ordered to join an unauthorized raid behind enemy lines to be led by Patton. The general had become convinced Hitler was making a secret visit to the front, and planned to capture him personally. "We drove off into the night," Meyer recalls. "Hitler wasn't there. We returned, and were warned to keep quiet about it. That was Patton for you." Advertisement Apocalypse Now (1979) - Quotes - IMDb Apocalypse Now (1979) Kilgore : Napalm, son. Nothing else in the world smells like that. [kneels] Kilgore : I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours.

When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body. The smell, you know that gasoline smell, the whole hill. Smelled like [sniffing, pondering] Kilgore : victory. Someday this war's gonna end... [suddenly walks off] Share this: Facebook | Twitter | Permalink Hide options Kurtz : I've seen horrors... horrors that you've seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that... but you have no right to judge me. It's impossible for words to describe what is necessary to those who do not know what horror means. Horror... Horror has a face... and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies! I remember when I was with Special Forces... seems a thousand centuries ago. We went into a camp to inoculate some children. We left the camp after we had inoculated the children for polio, and this old man came running after us and he was crying.

He couldn't see. We went back there, and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember... I... I... I cried, I wept like some grandmother. I wanted to tear my teeth out; I didn't know what I wanted to do! And I want to remember it. I never want to forget it... I never want to forget. And then I realized... like I was shot... like I was shot with a diamond... a diamond bullet right through my forehead. And I thought, my God... the genius of that! The genius! The will to do that! Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we, because they could stand that these were not monsters, these were men... trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love... but they had the strength... the strength... to do that. If I had ten divisions of those men, our troubles here would be over very quickly. You have to have men who are moral...

and at the same time who are able to utilize their primordial instincts to kill without feeling... without passion... without judgment... without judgment! Because it's judgment that defeats us. Share this: Facebook | Twitter | Permalink Hide options [first lines] Willard : [voiceover] Saigon... shit; I'm still only in Saigon... Every time I think I'm gonna wake up back in the jungle. Willard : When I was home after my first tour, it was worse. [grabs at flying insect] Willard : I'd wake up and there'd be nothing. I hardly said a word to my wife, until I said "yes" to a divorce. When I was here, I wanted to be there; when I was there, all I could think of was getting back into the jungle. I'm here a week now... waiting for a mission... getting softer. Every minute I stay in this room, I get weaker, and every minute Charlie squats in the bush, he gets stronger. Each time I looked around the walls moved in a little tighter. Share this: Facebook | Twitter | Permalink Hide options Willard : Could we, uh... talk to Colonel Kurtz?

Photojournalist : Hey, man, you don't talk to the Colonel. You listen to him. The man's enlarged my mind. He's a poet warrior in the classic sense. I mean sometimes he'll... uh... well, you'll say "hello" to him, right? And he'll just walk right by you. He won't even notice you. And suddenly he'll grab you, and he'll throw you in a corner, and he'll say, "Do you know that 'if' is the middle word in life? If you can keep your head when all about you are losing theirs and blaming it on you, if you can trust yourself when all men doubt you"... I mean I'm... no, I can't... I'm a little man, I'm a little man, he's... he's a great man! I should have been a pair of ragged claws scuttling across floors of silent seas... Share this: Facebook | Twitter | Permalink Hide options Colonel Lucas : Your mission is to proceed up the Nung River in a Navy patrol boat. Pick up Colonel Kurtz's path at Nu Mung Ba, follow it and learn what you can along the way.

When you find the Colonel, infiltrate his team by whatever means available and terminate the Colonel's command. Willard : Terminate the Colonel? General Corman : He's out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops. Civilian : Terminate with extreme prejudice. Colonel Lucas : You understand, Captain, that this mission does not exist, nor will it ever exist... Share this: Facebook | Twitter | Permalink Hide options Willard : [voice-over] I was going to the worst place in the world and I didn't even know it yet. Weeks away and hundreds of miles up a river that snaked through the war like a main circuit cable plugged straight into Kurtz. It was no accident that I got to be the caretaker of Colonel Walter E. Kurtz's memory any more than being back in Saigon was an accident. There is no way to tell his story without telling my own. And if his story really is a confession, then so is mine. Share this: Facebook | Twitter | Permalink Hide options Willard : [voice-over] The machinist, the one they called Chef, was from New Orleans.

He was wrapped too tight for Vietnam; probably wrapped too tight for New Orleans. Lance, on the forward .50s, was a famous surfer from the beaches south of LA. One look at him and you wouldn't believe he ever fired a weapon in his whole life. Clean... Mr. Clean... was from some South Bronx shithole and the light and space of Vietnam really put the zap on his head. Then there was Phillips, the Chief. It might have been my mission, but it sure as shit was the Chief's boat! Share this: Facebook | Twitter | Permalink Hide options Willard : [voice-over] On the river, I thought that the minute I looked at him, I'd know what to do, but it didn't happen. I was in there with him for days, not under guard; I was free, but he knew I wasn't going anywhere. He knew more about what I was going to do than I did. If the generals back in Nha Trang could see what I saw, would they still want me to kill him? More than ever, probably. And what would his people back home want if they ever learned just how far from them he'd really gone?

He broke from them, and then he broke from himself. I'd never seen a man so broken up and ripped apart. Share this: Facebook | Twitter | Permalink Hide options Hubert : [rebuffing Willard's inquiry as to when his family might return home to France] You don't understand our mentality - the French officer mentality. At first, we lose in Second World War. I don't say that you Americans win, but we lose. In Dien Bien Phu, we lose. In Algeria, we lose. In Indochina, we lose! But here, we don't lose! This piece of earth, we keep it. We will never lose it, never! Gaston de Marais : You Americans. In 1945, yeah, after the Japanese war, your president Roosevelt didn't want the French people to stay in Indochina. So, you Americans implant the Vietnam. Willard : [to Hubert] What's he mean? Hubert : Yeah, that's true. The Vietcong were invented by the Americans, sir. Willard : The Americans? Gaston de Marais : And now you take the French place. And the Vietnam fight you. And what can you do? Nothing.

Absolutely nothing. Hubert : The Vietnamese are very intelligent. You never know what they think. The Russian ones who help them, "come and give us their money. We are all Communists. Chinese give us guns. We are all brothers."... They hate the Chinese! Maybe they hate the American less than the Russian and the Chinese. I mean, if tomorrow the Vietnamese are Communists they will be *Vietnamese* Communists. And this is something you never understood, you American. Gaston de Marais : I don't know. Maybe in the future we can make something with the Vietnam. Philippe de Marais : Don't you understand? The VC say, "go away, go away". That's finish for all the white people in Indochina. If you're French, American, that's all the same. "Go." They want to forget you. Look, Captain. Look, this is the truth. An egg. [cracks it, draining the egg white] Philippe de Marais : The white left, but the yellow stays. [stomps off] Share this: Facebook | Twitter | Permalink Hide options Willard : My mission is to make it up into Cambodia.

There's a Green Beret Colonel up there who's gone insane. I'm supposed to kill him. Chef : What? Oh, that's typical! Shit! Fuckin' Vietnam mission! I'm short, and we gotta go up there so you can kill one of our own guys? That's fuckin' great! That's just fuckin' great! Shit! That's fuckin' crazy! I thought you were going in there to blow up a bridge, or some fucking railroad tracks or something! Willard : I'm sorry. Look, I'll cut you loose here and you can turn around and... Chef : [interupting] No, no, we go together... on the boat! We came this far, so we go together. All the way! We'll take you up there, we'll go with you... but on the boat! Okay? Robert Duvall: "Napalm, son. Nothing else in the world smells like that" | Balder and Dash | Roger Ebert Robert Duvall: "Napalm, son.

Nothing else in the world smells like that" by Roger Ebert Tweet • Roger Ebert / August 25, 1983 They honored Robert Duvall the other night at the Festival of Festivals in Toronto, dedicating their annual Tribute to an actor's actor who is only now entering into stardom after two decades of great character performances. Duvall was accompanied onstage by Gene Siskel and me, on a guided tour of clips from a lot of his best movies, and when we got to one of his key scenes in " The Godfather " (1971), you could have heard a pin drop. The scene was the famous one where Duvall, as Tom Hagen, Don Corleone's trusted family lawyer, goes to Hollywood to persuade a studio boss to give Johnny Fontane, the mob-connected singer, a starring role in a movie. "Godfather" fans will recall that the sequence ends with the boss refusing Hagen's request, and waking up the next morning in the same bed with the severed head of his beloved racehorse. Anyway, when the scene was over, Duvall got to talking about the film's director, Francis Coppola .

"It's not widely known that when Coppola made 'The Godfather,' the studio had a substitute director standing by at all times," Duvall said. "One false move and Francis would have been replaced. That was incredible pressure for him to work under. It's a great picture, but under the circumstances it's a miracle he even finished it. As for Francis himself, he's like a kid with an all-day sucker. He wants his Hollywood studio, and a vineyard in Northern California, and an apartment in Paris. He's a great director, but he loves all his toys." All this could be checked out, at first hand, because Coppola himself was a surprise guest, lurking in the back of the theater. Wearing a Panama hat, he marched down the aisle, took a seat on the stage and shared his notions of acting, directing, Duvall and "The Godfather." "That was a strange scene to show," Coppola said, "because in the long shot it isn't even Bobby.

We shot Bobby's scenes on the East Coast, and for the West Coast exteriors we used a double." "You can tell," Duvall said, "because he doesn't have my bow-legs." Coppola and Duvall began remembering moments from "The Godfather," especially an early rehearsal dinner. "I assembled the whole cast for a dinner at Pearl's restaurant in New York," Coppola said. "There they all were -- Brando eating everything in sight, and Pacino looking tragic, and Duvall doing his Brando imitations every time Marlon turned his back. It was like the Corleone family having dinner. It was that night I knew the picture would work." After two more clips from "Godfather, Part Two," we viewed perhaps the most famous single scene Coppola or Duvall has ever been involved with: The beach landing in " Apocalypse Now " that begins with a flight of helicopters playing Richard Wagner over loudspeakers, and ends with Duvall's famous line: "I love the smell of napalm in the morning. It seems like . . . victory!" "One take," Coppola said.

"We did that scene in one take, the first take." That made it all the more extraordinary, because the scene is not only an exercise in logistics, but a demonstration of physical courage. While jets thunder overhead, helicopters make close passes and shells go off within yards of Duvall, he remains totally unaffected. He doesn't even twitch an eyelash at the special effects explosions, and marches around on the sand talking obsessively about the great surfing beach he has just occupied. "There wasn't any time to think," Duvall said. "I heard over the intercom that we only had the use of the jets for 20 minutes. One fly-by and that was it. I just got completely into the character, and if he wouldn't flinch, I wouldn't flinch." As Duvall reviewed his career from " To Kill a Mockingbird " (1963) to " Tender Mercies " (1983), his acting approach was clearly revealed: He believes in giving himself over to the character.

He talked about spending time with homicide cops before making " The Detective " (1968), and hanging out with good ol' boys from Texas to find his character, a country singer, for "Tender Mercies." "Not to brag, but I got calls from Willie Nelson , Waylon Jennings and Kris Kristofferson telling me I had the character just right," he said. Robert Duvall has long been known as an accomplished actor, but the range of his acting career was dramatized by the three-hour program. The scenes ranged from "True Grit" (he faced John Wayne in that great shoot-out in the mountain meadow) to " The Chase " (Duvall and Brando) to George Lucas' " THX 1138 " (Duvall as a puzzled automaton) to Robert Altman's "MASH" (Duvall's love scene with Hot Lips) to " True Confessions " (Duvall as a cop, Robert DeNiro as his brother, a priest) and " The Great Santini " (Duvall as a military pilot who demands perfection from his family).

Two things stood out as the scenes marched past; Duvall never plays the same character twice, and he makes other actors look good. He brings a quality to his listening, his reactions, that charges a scene even when he's not talking. One of the movies shown at Toronto was unfamiliar. It was "Tomorrow," a 1972 adaptation of a William Faulkner short story. The movie was never widely released, but Duvall says his performance in it, as a poor dirt farmer that loves and loses a woman and her child, is the one he likes best. "It's got the most of me in it," he said. And what, at mid-career, what has he learned about acting? "Give yourself completely to the moment." View All Videos (4) Apocalypse Now Quotes Lt. Col. Kilgore: They were going to make me a major for this, and I wasn't even in their fucking army anymore. Everybody wanted me to do it; him most of all. I felt like he was up there waiting for me to take the pain away. He just wanted to go out like a soldier. Standing up. Not like some poor wasted rag-assed renegade. Even the jungle wanted him dead.

That's who he really took his orders from, anyway. Photo Journalist: The heads. You're looking at the heads. Sometimes he goes too far. He's the first one to admit it. Capt. Benjamin Willard: Part of me was afraid of what I would find and what I would do when I got there. I knew the risks, or imagined I knew. But the thing I felt the most, much stronger than fear, was the desire to confront him. Photo Journalist: There's mines over there, there's mines over there, and watch out those goddamn monkeys bite, I'll tell ya. Photo Journalist: One through nine, no maybes, no supposes, no fractions. You can't travel in space, you can't go out into space, you know, without, like, you know, uh, with fractions - what are you going to land on - one-quarter, three-eighths? What are you going to do when you go from here to Venus or something? That's dialectic physics. Chef: So whaddya wanna do? I'll kill the fuck. Chef: This Colonel guy? He's wacko, man! He's worse than crazy. He's evil.

It's fuckin' pagan idolatry. Look around you. Shit! He's loco... I ain't afraid of all them fuckin' skulls and altars and shit. Capt. Benjamin Willard: It's a way we had over here for living with ourselves. We cut 'em in half with a machine gun and give 'em a Band-Aid. It was a lie. And the more I saw them, the more I hated lies. Capt. Benjamin Willard: The bullshit piled up so fast in Vietnam, you needed wings to stay above it. Colonel Kurtz: I worry that my son might not understand what I've tried to be. And if I were to be killed, Willard, I would want someone to go to my home and tell my son everything – everything I did, everything you saw – because there's nothing that I detest more than the stench of lies. And if you understand me, Willard, you will do this for me. Lt. Col. Kilgore: You can either surf, or you can fight! Chef: I used to think if I died in an evil place, then my soul wouldn't be able to make it to heaven.

But now, fuck. I don't care where it goes as long it ain't here. Capt. Benjamin Willard: Who's the commanding officer here, soldier? Soldier in Trench: Ain't you? General: Well, you see Willard . . . In this war, things get confused out there, power, ideals, the old morality, practical military necessity. But out there with these natives, it must be a temptation to be god. Because there's a conflict in every human heart, between the rational and the irrational, between good and evil. And good does not always triumph. Sometimes, the dark side overcomes what Lincoln called the better angels of our nature. Every man has got a breaking point. You and I have one. Walter Kurtz has reached his. And very obviously, he has gone insane. Capt. Benjamin Willard: The First of the Ninth was a old cavalry division that traded in their horses for helicopters and went tear-assing around 'Nam looking for the shit... Capt. Benjamin Willard: The crew were mostly kids; rock & rollers with one foot in their grave. Lt. Col. Kilgore: What the hell do you know about surfing, Major?

You're from goddamned New Jersey! Colonel: You understand, Captain, that this mission does not exist, nor will it ever exist... Agent: Terminate... with extreme prejudice. Colonel: Your mission is to proceed up the Nung River in a Navy patrol boat. Pick up Colonel Kurtz's path at Nu Mung Ba, follow it and learn what you can along the way. When you find the Colonel, infiltrate his team by whatever means available and terminate the Colonel's command. Capt. Benjamin Willard: Terminate the Colonel? General: He's out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops. Capt. Benjamin Willard: Are you crazy, Goddammit? Don't you think its a little risky for some R&R? Lt. Col. Kilgore: If I say its safe to surf this beach, Captain, then its safe to surf this beach! I mean, I'm not afraid to surf this place. I'll surf this whole fucking place! Capt. Benjamin Willard: I'm going 75 klicks above the Do Lung bridge. Chief: That's Cambodia, Captain. Capt.

Benjamin Willard: That's classified. Chief: My orders say I'm not supposed to know where I'm taking this boat, so I don't! But one look at you, and I know it's gonna be hot! Lance: Disneyland? Fuck, man, this is better than Disneyland! Colonel Kurtz: Did they say why, Willard, why they want to terminate my command? Capt. Benjamin Willard: I was sent on a classified mission, sir. Colonel Kurtz: It's no longer classified, is it? Did they tell you? Capt. Benjamin Willard: They told me that you had gone totally insane, and that your methods were unsound. Colonel Kurtz: Are my methods unsound? Capt. Benjamin Willard: I don't see any method at all, sir. Colonel Kurtz: I expected someone like you. What did you expect? Are you an assassin? Capt. Benjamin Willard: I'm a soldier. Colonel Kurtz: We train young men to drop fire on people, but their commanders won't allow them to write "fuck" on their airplanes because it's obscene! Lt. Col.

Kilgore: I love the smell of napalm in the morning. Lt. Col. Kilgore: Any man brave enough to fight wit his guts strapped to him can drink from my canteen any day. Roach: He's close, real close. (He fires grenade). Motherfucker. Roach: He's close, real close. Motherfucker. Capt. Benjamin Willard: Do you know who's in command here? Roach: Yeah. Chief: You like it hot, don't you Captain? Capt. Benjamin Willard: You'll never find out about yourself working in some fucking factory in Ohio. Colonel Kurtz: Are my methods unsound? Capt. Benjamin Willard: I don't see any method at all, sir. Colonel Kurtz: I expected someone like you. What did you expect? Are you an assassin? Capt. Benjamin Willard: I'm a soldier. Colonel Kurtz: You're neither. You're an errand boy, sent by grocery clerks, to collect a bill. Colonel Kurtz: The horror... The horror... Lt. Col. Kilgore: Charlie Don't Surf! Lt. Col.

Kilgore: Charlie don't surf! Colonel Kurtz: The horror. The horror. Soldier in Trench: Ain't you?!? Soldier in Trench: Ain't you?! Colonel Kurtz: I watched a snail crawl along the edge of a straight razor. That's my dream; that's my nightmare. Crawling, slithering, along the edge of a straight razor... and surviving. Lt. Col. Kilgore: This war's gonna end someday. Lt. Col. Kilgore: How are you feeling jimmy ? Lt. Col. Kilgore: How are you feeling Jimmy? Kilgore's Machine-Gunner: Like a mean motherfucker sir ! Kilgore's Machine-Gunner: Like a mean motherfucker sir! Lt. Col. Kilgore: Charlie don't surf! Capt. Benjamin Willard: I wanted a mission and for my sins they gave me one. Capt. Benjamin Willard: Never get out of the boat. Absolutely god damn right. Colonel Kurtz: You are neither. You are an errand boy sent by grocery clerks to collect a bill. Lt.

Carlsen: You're in the asshole of the world Captain. Colonel Kurtz: Are you an assassin? Capt. Benjamin Willard: I'm a soldier. Colonel Kurtz: You're neither. You're an errand boy, sent by grocery clerks, to collect a bill. Colonel Kurtz: The Horror Capt. Benjamin Willard: I was given a mission...and for my sins they gave me one. Colonel Kurtz: this is the end Colonel Kurtz: This is the end. Colonel Kurtz: You have to have men who are moral... and at the same time who are able to utilize their primordial instincts to kill without feeling... without passion... without judgment... without judgment! Because it's judgment that defeats us. Lt. Col. Kilgore: Charlie don't surf! Lt. Col. Kilgore: I love the smell of napalm in the morning. Smells like.....victory Lt. Col. Kilgore: I love the smell of napalm in the morning. Smells like... victory. Playmate of the Year: Who are you? Clean: I'm next, ma'am. Capt.

Benjamin Willard: Every man gets everything he wants. I wanted a mission. And for my sins they gave me one. Brought it up to me like room service. Capt. Benjamin Willard: Everyone gets everything he wants. I wanted a mission, and for my sins, they gave me one. Brought it up to me like room service. Chef: Never get out of the boat... Chef: Never get out of the boat. Colonel Kurtz: Are my methods unsound? Capt. Benjamin Willard: I don't see any method at all sir. Colonel Kurtz: The horror... the horror... Colonel Kurtz: [voiceover] The horror... the horror. Capt. Benjamin Willard: Yes Sir...insane sir...obviously insane. Capt. Benjamin Willard: Yes sir. Insane sir. Obviously insane. Lt. Col. Kilgore: I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours. When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body.

The smell, you know that gasoline smell, the whole hill. Smelled like [sniffing, pondering] victory. Someday this war's gonna end... [suddenly walks off] Lt. Col. Kilgore: I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours. When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body. The smell, you know that gasoline smell, the whole hill. Smelled like... [sniffing, pondering] Lt. Col. Kilgore: ...victory. Someday this war's gonna end. [suddenly walks off] Chief: Captain... You're giving away our fuel for a Playmate of the Month? Chief: Captain. You're giving away our fuel for a Playmate of the Month? Capt. Benjamin Willard: Nope... Playmate of the Year, Chief. Capt. Benjamin Willard: Nope. Playmate of the Year, Chief. Capt. Benjamin Willard: Saigon... Shit... I'm still only in Saigon...

Every time I think I'm gonna wake up back in the jungle. When I was home after my first tour it was worse. I'd wake up and there'd be nothing. I hardly said a word to my wife until I said yes to a divorce. When I was here I wanted to be there. When I was there, all I could think of was getting back into the jungle. I'm here a week now, waiting for a mission, getting softer. Every minute I stay in this room I get weaker. And every minute Charlie squats in the bush he gets stronger. Each time I look around the walls move in a little tighter... Colonel Kurtz: But we must kill them. We must... incinerate them. Pig after pig, cow after cow, village after village, army after army... and they call me an assassin. What do you call it when the assassins accuse the assassin? They lie... They lie, and we have to be merciful for those who lie... Those nabobs, I hate them. I do hate them. Lt. Col. Kilgore: I am beyond their timed, lying morality. Therefore I am beyond caring. Lt. Col.

Kilgore: I am beyond their timid lying morality, and so I am beyond caring. Capt. Benjamin Willard: Everyone gets everything he wants. I wanted a mission, and for my sins they gave me one Capt. Benjamin Willard: Everyone gets everything he wants. I wanted a mission, and for my sins they gave me one. Lt. Col. Kilgore: I love the smell of napalm in the morning. Colonel Kurtz: We train young men to drop fire on people, but their commanders won't allow them to write "fuck" on their airplanes because it's obscene! Colonel Kurtz: We train young men to drop fire on people, but their commanders won' t allow them to write 'fuck' on their airplanes because it's obscene! Colonel Kurtz: The Horror....The Horror.... Colonel Kurtz: The horror... the horror. Colonel Kurtz: You're an Erin Boy....Sent By Grocery Clerks....To Collect The Bill... Colonel Kurtz: You're neither. You're an errand boy, sent by grocery clerks, to collect a bill. Capt.

Benjamin Willard: They said you'd gone totally insane and that your methods were...unsound. Capt. Benjamin Willard: They said you'd gone totally insane and that your methods were, unsound. Capt. Benjamin Willard: They said you'd gone totally insane and that your methods were... unsound. Colonel Kurtz: Do you think my methods are unsound? Capt. Benjamin Willard: I ..don't see any method...at all. Capt. Benjamin Willard: I don't see any method, at all. Capt. Benjamin Willard: I don't see any method at all. Lt. Col. Kilgore: Charlie don't surf Lt. Col. Kilgore: Charlie don't surf. Lt. Col. Kilgore: i asked for a mission and for my sins they gave me one. Colonel Kurtz: We must kill them. We must incinerate them. Pig after pig... cow after cow... village after village... army after army... Chief: Why do all you guys sit on your helmets? Lt. Col. Kilgore: I love the smell of Napalm in the mourning! Lt. Col.

Kilgore: I love the smell of Napalm in the morning! ×Close Submit a Quote from 'Apocalypse Now' A quote can be a single line from one character or a memorable dialog between several characters. Please make your quotes accurate. Quotes will be submitted for approval by the RT staff. Example:

Question: In which war film would you hear the line 'I love the smell of napalm in the morning'?
Answer: APOCALYPSE NOW